Mr. Neville, a cocksure young artist is contracted by Mrs. Herbert, the wife of a wealthy landowner, to produce a set of twelve drawings of her husband's estate, a contract which extends ... See full summary »
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Barbara M. Messner,
This is a TV adaptation of a 1993 opera entitled "Rosa," with a libretto by Greenaway and score by Louis Andriessen. "Rosa" is the first in a projected series of 10 operas, each dealing ... See full summary »
Miranda van Kralingen,
Mr. Neville, a cocksure young artist is contracted by Mrs. Herbert, the wife of a wealthy landowner, to produce a set of twelve drawings of her husband's estate, a contract which extends much further than either the purse or the sketchpad. The sketches themselves prove of an even greater significance than supposed upon the discovery of the body of Mr. Herbert. Written by
Paul Kevin Harm <email@example.com>
The movie was originally inspired by Peter Greenaway's attempts to draw a house he'd rented for a vacation and finding that the sun rising/falling changed the shadows and appearance too rapidly for a drawing to be completed in one sitting. He thus spent a specific period each day drawing the house from a specific angle (like the draughtsman in the movie). See more »
The cooing of a collared dove is not a sound that would have fallen on Jacobean ears, as the species was unknown in Britain until 1955. See more »
Mr. Chandos was a man who spent more time with his gardener than his wife. They discussed plum trees - ad nauseam. He gave his family and his tennants cause to dread September, for they were regaled with plums till their guts rumbled like thunder and their backsides ached from overuse. He built the chapel at Fouvant, where the pew seats are made of plumwood, so the tennants still have cause to remember Chandos through their backsides - on account of the splinters.
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Being of English origin the film has a particular fascination. Certain things become apparent if you know England well, but also I suspect on repeated viewing.
A tale of conceit, deception and power. The conceit of the Draughtsman, all too apparent, is matched by the conceit of the upper classes as the film unfolds. The pictoral conceit referred to in the film repeatedly is matched by a pictoral conceit played on the viewer: the wigs were never that big, the house, garden and grounds stunning and the weather too perfect.
Deception exists at many levels. The viewer is deceived as to where the houses and events take place. The allusions are to Southampton and surrounding areas. Being from the Southampton area I realized this wasn't Southampton. Though it could possibly have been. The deception was convincing. The location is Kent. I believe this deception, which fits so nicely in the film anyway, was pulled so that the owner of the house where the film is centred around would not be invaded by tourists. A nice touch which I suspect follows the line in the film, something like this), "Do you think Mrs Talbot is a lady who likes her gravel being kicked around by a pack of dogs."
The arrogance and exploitation of the ladies of the house by the Draughtsman, readily apparent, is more sinisterly exceeded by the arrogance and exploitation of the Draughtsman by the ladies. The Draughtsman provides a cover for murder, solves the problem of transfer of the property by siring a child and finally ends up as the scapegoat for murder. While the Draughtsman may appear to be playing with the household for his own amusement, the Draughtsman himself is the focus of a much more brutal and more deadly game.
Like all the best films there is much going on in the film. The lines and language are wonderfully rich. The camera merely shows you the events. And it is not above deceiving you as a viewer. Trying to make sense of it all is great fun. Many things I didn't even see until the second or third viewing, let alone make sense of them!
A beautiful allegory which slowly unfolds and challenges the senses. Much like The Prisoner (1967) tv series, and hopefully The Prisoner (2000) movie.
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